This introduction also concerns a related melody called Lofty Tranquillity
(Qingxu Yin5). Expressions such as Profoundly Serene, Seated Meditation, and Lofty Tranquillity are all ancient expressions conveying a range of mental states from emptying the mind to detaching oneself from worldly activities. Thus the Han History has, "Laozi was profoundly serene" and Huainanzi has, "The way of heaven is profoundly serene, without fixed form or pattern"; Zhuangzi relates Yan Hui telling Confucius he feels better because he can just "sit in abstraction" (meditate?).6 Literati artists continued to call on such expressions to describe the attitude they should have when creating works of art.7

Versions of this melody survive in nine handbooks from 1425 to 1670 (see chart).8 The four called Xuan Mei (also pronounced Xuan Mo) or Zuo Wang are most closely related to the melody in Shen Qi Mi Pu. Those in the handbooks dated 1425, 1539 and 1670 are, as usual, almost identical. Also, as usual, the version in Chongxiu Zhenchuan Qinpu (1585) has a quite different but clearly related melody with lyrics added.9

The other five handbooks, dated 1552, 1557, 1561, 1647 and 1692, have the melody called Qingxu Yin (Lofty Tranquillity Chant). Although listed separately, it is in fact a somewhat shorter version of the Xuan Mei melody. Qingxu Yin is always placed just before the longer melody Guanghan You.

The attributions suggested here, to the 6th c. BCE qin master
Shi Kuang,10 as well as to the 3rd c. CE poet
Xi Kang,11 are not found in the normal early qin sources, such as Qin History.

In spite of these ancient attributions, neither Xuan Mo nor Zuo Wang seems to occur in early lists of qin melodies. It does, however, have some archaic fingering techniques to support its placement in
Folio I of Shen Qi Mi Pu, the section said to contain the earliest melodies.15

In addition to my own there is a recording of Xuan Mei by Li Fengyun (with xiao) on her silk string CD Mei Shao Yue.16

some people claim Shi Kuang wrote this piece; others say Xi Kang wrote it.
It is not known who is correct, only that it is very old: it has existed since
the Spring and Autumn period (6th - 3rd c.) of the Zhou dynasty. The interest
of this piece is in shrinking heaven and earth and narrowing the six directions
(down to manageable size), in advance18 of creation. Its spirit wanders outside the Universe19 and causes one to forget whether one is separate from objects around him; this is in accord with the Dao. It has an indescribable interest, (but) the Superior Man can attain it.

2/323 gives a few more references, and also see Zuo Wangbelow. Another literal translation for Xuan Mei might be "Profound Silence", while a translation that takes into account Zuo Wang could be "Silent Meditation".
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3.Sitting and Forgetting (坐忘 Zuo Wang)Zuo Wang, literally "sitting forgetting", might also be described as "sit in forgetfulness", "sit in abstraction" and so forth, but perhaps the most evocative translation would be "Seated Meditation" in the sense of just emptying the mind. It is easy to think of the qin as an instrument of meditation, but there are as many ways of understanding the word "meditate" as there are Chinese words used to say it: 沉思 shen si, 冥想 ming xiang, 靜心 jing xin and so forth. Is it Daoist meditation, Buddhist meditation, or a uniquely qin meditation? Can one evoke the Zhuangzi Butterfly Dream to say the aim is not to know whether I am playing the qin or whether the qin is playing me. What within the music itself would make it more or less "meditative" than other quiet music?

As for 5067.31 坐忘 (zuo wang), it has nothing on music; it mainly quotes 莊子，太宗師 Zhuangzi, Taizong Shi (James Ware, Zhuangzi, Chapter 6, Let God be Teacher: Yan Hui explains to Confucius what he means by "sitting and forgetting".) Zuo Wang is a term apparantly also used in religious Daoism. See the story above about
Sima Chengzheng. A chapter in Thomas Cleary, Taoist Meditation, is "Treatise on Sitting Forgetting", described as "A Tang Dynasty text that sets meditation practice in terms familiar to Confucians and Buddhists." It is also a term used to describe the attitude an artist should have when being creative.

4.Illustration: 茅亭坐忘 Maoting Zuo Wang, by 婁辛壺 Lou Xinhu (1943)Lou Xinhu (1880-1950）was from Zhejiang. The inscription on his painting has a 7x4 poem, with the first phrase saying, "In a thatch hut all day I sit and forget opportunities." Note the small figure sitting in the thatch hut.

The whole poem is as follows:

茅亭長日坐忘機，
In a thatch hut all day I sit and forget opportunities,
靜聽流泉心事違。
Peacefully listening to the flowing spring my worries are lost.
山外夕陽歸鳥盡，
Beyond the mountains and stars the birds have all returned,
滿懷詩思入雲飛。
I am imbued with poetic thoughts of flying into the clouds.

This title survives first from Taiyin Buyi or
Qinpu Zhengchuan (listed here as 1552 and 1661 respectively but their actual compilation dates are unclear). Zha Fuxi's Guide 18/176/-- lists it as a separate melody but it is clearly related to Xuan Mei: see appendix below. The only preface to Qingxu Yin (it is the same in both 1552 and 1557; see QQJC, III/326 and IV/49-50) connects the melody to the story of emperor
Tang Ming Huang and Yang Guifei:

"Old Man Xingzhuang says, according to oral tradition, (Tang emperor) Minghuang once traveled up to the moon. Later people, impressed by this story, wrote Qingxu Yin and Guanghan You as a romance (chuanqi: also refers to short stories from the Tang and Ming dynasty as well as a form of opera during the Ming).

It is possible that here "chuanqi" simply means a marvelous story but, although my dictionaries do not give Guanghan You as the name of a chuanqi drama, the story is often told in drama. There are more details with the comments on the qin melody Guanghan You as well as on its prelude in the 1525 version, Da Guan Yin.
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8.Tracing Xuan MeiThe appendix below is based mainly on Zha Fuxi's
Guide 3/29/34 and 18/176/--
(Qingxu Yin). Only 1425 and 1585 have prefaces, and these are identical. The version in Chongxiu Zhenchuan Qinpu has lyrics and is somewhat different; the ones in Fengxuan Xuanpin and Qinyuan Xinchuan Quanbian (called Zuo Wang) are almost identical to 1425. Fengxuan Xuanpin and Qinyuan Xinchuan Quanbian both often copy SQMP pieces. Most of the melodies called Qingxu Yin seem to be shortened versions of Xuan Mei.
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9.
This 1585 version also divides the melody into five sections; these titles have been applied to the music here.. Its lyrics concern...

These lyrics can be made to fit the SQMP fingering following the common method of one character for each right hand stroke and certain left hand plucks. Most of the melodies in Zheyin Shizi Qinpu (<1491) are identical to those in SQMP, but with lyrics added; however, the surviving Zheyin is incomplete. The fact that the 1585 lyrics can fit the SQMP melody suggests that Xuan Mei might have been included in a complete version of Zheyin.
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12.Sima ChengzhengThe Qin Shi biography of 司馬承正字子微號白雲 Sima Chengzheng quotes extensively from 素琴傳 Su Qin Zhuan, a qin book attributed to him (Wang Mengshu's Wusilan Zhifa Shi, p.21 #9, seems to indicate it is quoting his 琴賦 Qin Fu). It does not mention Zuo Wang, but it does mention Baiyun Yin and also the melody You Lan.
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16.Xuan Mei in Li Fengyun,
Mei Shao YueThis silk string CD has two melodies from Shen Qi Mi Pu (the other is Tian Feng Huan Pei) and one (the title track) from Xilutang Qintong. Her Mei Shao Yue is generally faster than mine; the other two have note values often quite similar to my own. The xiao accompaniment with Xuan Mei at times adds very interesting counterpoint.
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